An engrossing, if flawed, novel.
Set in Vienna, Hitchman’s historical novel traces the course of queer love and friendship over three tumultuous decades.
In 1910, the Austro-Hungarian capital is the “greatest city in the Western Hemisphere,” where “art and music flourish” and “Herr Doktor Freud” analyzes troubled minds. Among its newest arrivals are Eve Perret, a skilled tailor who dresses as a man, and the beautiful and spoiled Julia Lindqvist, who has left her Swedish playwright husband to be with Eve. With very little money, the couple settle in the Jewish quarter of Leopoldstadt, where their landlady, Frau Berndt, introduces them to fellow tenant Rolf Gruber, a flamboyant would-be theater impresario. After he helps Eve get a job, she discovers that he too is gay. “He is like us,” she excitedly tells Julia. “He loves men.” The two women gradually build a small community of friends and neighbors, but Julia’s desire for a child overshadows their happiness. Shifting narrative perspectives, Hitchman also introduces 16-year-old Ada Bauer, who has a crush on her closeted cousin Emil’s wife, Isabella. When Isabella becomes pregnant, Ada and Rolf, Emil’s spurned lover, hatch a plot with life-altering consequences. Hitchman excels at capturing both the liberating permissiveness of turn-of-the-century Vienna and the city’s paralyzing fear after Hitler’s 1938 annexation of Austria, but the big time jump between 1913, when the novel’s first part ends, and 1938 and then 1946 feels jarring. Her main characters are sympathetically drawn, but all are not given equal focus. The more compelling Eve receives less attention than the self-absorbed Julia; how did she cope as a butch lesbian when the Nazis began cracking down on Jews, homosexuals, and other “undesirables”?
An engrossing, if flawed, novel.Pub Date: Jan. 4, 2022
ISBN: 978-1-4197-5693-1
Page Count: 320
Publisher: Overlook
Review Posted Online: Nov. 9, 2021
Kirkus Reviews Issue: Dec. 1, 2021
BOOK REVIEW
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
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